The seven best films we saw at 2024 Telluride Film Festival

TELLURIDE, Colo. —

As a seasoned film critic with years of experience under my belt, I must say that this year’s Telluride Film Festival lineup is nothing short of exceptional. The opening film “Nickel Boys” is a bold choice that perfectly encapsulates the festival’s daring side. It’s reminiscent of the edge-of-your-seat experience we had with “Uncut Gems” last year.

In its early days, this Colorado Rockies settlement was primarily a mining town during the mid-1800s. However, over time, it transformed into a popular ski resort and hiking destination. Interestingly, during Labor Day weekend, it takes on a different role as it becomes a hub for journalists, producers, and publicists, who are not after traditional minerals but rather the coveted Oscars. Our team of three reporters spent their time watching various films and returned with some valuable insights of their own.

‘Carville: Winning Is Everything, Stupid’

At this year’s festival, there were an abundance of outstanding documentaries with a political theme, addressing pertinent issues such as reproductive rights (as depicted in “Zurawski v Texas”), climate change (“The White House Effect”), the potential demise of democracy in Brazil (“Apocalypse in the Tropics”), and the Trump administration’s border policy on family separation (“Separated”). However, none could rival the sheer entertainment value offered by Matthew Tyrnauer’s documentary about James Carville, a renowned Democratic strategist often referred to as the “Ragin’ Cajun”. This charismatic, astute tactician rose from humble beginnings to become a key figure in Bill Clinton’s 1992 campaign war room and formed a unique power couple with Republican strategist Mary Matalin. The film “Carville: Winning Is Everything, Stupid” goes beyond chronicling one man’s political journey, providing an intriguing insight into his marriage forged amidst partisanship and offering a glimpse of the controversy that ensued when Carville advocated for Biden to withdraw from the 2024 presidential race early on. The film has been acquired by CNN Films for release in October prior to the election, making it an essential watch! — Josh Rottenberg

‘Conclave’

The film titled “Conclave,” starting with the demise of the Pope, delves into the intricate process of choosing his successor, filled with ambition and backstabbing. Cardinal Lawrence, portrayed by Ralph Fiennes, navigates this tumultuous scenario, doubting yet duty-bound. The candidates who yearn for the position are particularly perilous, he observes. Edward Berger, the director, masterfully adapts Robert Harris’ 2016 novel, employing the same rapid pacing and intense score that made his previous work, “All Quiet on the Western Front,” a hit with viewers, award committees, and earplug manufacturers. This political thriller may be frivolous at times, but its satirical take on elections is often shrewd. The line, “Is this all we’re left with, choosing the least worst option?” drew an understanding chuckle at the premiere, while the flamboyant performances by ensemble members such as Stanley Tucci, John Lithgow, and Isabella Rossellini added to the entertainment value. Despite the impending election’s gravity, “Conclave,” set for release on Nov 1st, promises a brief, engaging escape from reality. — Glenn Whipp

‘The End’

In this musical, a family buried deep underground sings about their past, a common theme among musical productions depicting families. However, unlike most families in musicals, this one resides in a bunker 25 years after the majority of the world’s population has perished due to an apocalypse. This genre is one I have a particular fondness for, with “A Quiet Place: Day One” and Lynne Littman’s “Testament” being notable examples.

‘The Friend’

I personally prefer dogs over other pets, but I’m not fond of movies that focus on dogs. These films often tend to be overly emotional and tear-jerking. However, “The Friend,” which premiered at Telluride and is currently seeking a distributor, seems to be an exception, although the woman sitting next to me in the Palm Theater was sniffling towards the end. The dog in this movie is named Bing, a Great Dane who weighs 151 pounds and can show deep thoughts on command. I won’t spoil the ending, but it’s worth mentioning that the owner, portrayed by Bill Murray, dies at the beginning of the story. He asks his former student and ex-lover (Naomi Watts) to take care of his other cherished companion. This sets up a unique dynamic as Watts struggles to accommodate this large dog in her life and New York apartment. While it’s adorable, the movie evolves into a heartfelt exploration of grief, both human and canine. Directors Scott McGehee and David Siegel have effectively captured the sweet essence of Sigrid Nunez’s novel, offering Watts (and indeed Bing) excellent chances to shine. This delightful film shouldn’t have to plead for a place in the cinematic world. — G.W.

‘Nickel Boys’

A movie I’ve enjoyed writing about, “Nickel Boys” also has become the one I’ve thought about the most — a valuable kind of grappling, informed by Glenn Whipp’s sharp interview with co-star Aunjanue Ellis-Taylor. Per the actor, maybe a little viewer disorientation (or a lot) makes sense when we watch movies about systemic abuse and racism. Grammatically speaking, I’ve contemplated the power of the closeup, both an objectification and a privilege. Director RaMell Ross deploys them sparingly, choosing instead to put us in the heads of his characters, making us first-person witnesses to horror and compassion both. I don’t know if the simmering rage of Colson Whitehead’s novel is fully expressed by Ross’ strategy, but there’s no doubt that the filmmaker has made something strange and arresting, a drama that makes you do the work and supply its catharsis in retrospect. Not for nothing, the New York Film Festival — a showcase I hold in high regard — is opening its upcoming edition with “Nickel Boys,” a challenging choice that I applaud, and one that Telluride audiences got to experience first. Like “Uncut Gems,” it’s a example of the more daring side of the fest’s programming. — J. Rothkopf

‘September 5’

The movie “September 5” offers a unique perspective on the tragic events of the 1972 Munich Olympics, where Palestinian militants took and killed 11 Israeli athletes. Unlike previous screen portrayals such as the Oscar-winning “One Day in September” and Steven Spielberg’s “Munich,” this film focuses on the ABC Sports team trying to report live from the unfolding crisis. Director Tim Fehlbaum masterfully crafts a tense real-time thriller, all within the claustrophobic setting of a TV control room. The characters, played by Peter Sarsgaard and John Magaro, make difficult decisions in real time with limited information and high stakes. With its documentary-style feel, “September 5” is a film that could be valuable for journalism students to study. It shares similarities with Paul Greengrass’ suspenseful and historically grounded “United 93,” and it has the potential to be an awards contender. Filmed before the Hamas attack of October 7 and the Israeli invasion of Gaza, it gains additional relevance and impact. However, the movie needs distribution first, following its positive response at Venice and Telluride film festivals. – J. Rottenberg

‘Zurawski v Texas’

Among the numerous films I viewed at this year’s Telluride festival, “Zurawski v Texas,” a compelling documentary by Maisie Crow and Abbie Perrault about the battle for women’s reproductive rights, stood out as the one that had the most profound impact. The crowd of roughly 700 people (with many more being turned away) wept, applauded, and at times voiced their frustration and dismay over the content they were viewing on screen.

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2024-09-07 14:11